Moving on toward the strange attractor at the end of the axis we finally conclude our
journey through space and time at La Grande Arche.
Contemporaneous with the Louvre pyramid, the Grand Arch was also built at the request of
President Mitterand.
This time Mitterand held a national design competition but personally selected architect
Johann Otto von Spreckelsen in the end anyway.
Unfortunately Spreckelsen died before the project was completed.
The location of the Grand Arch has a special relationship to the Arc de Triomphe, the Luxor
obelisk, and the Arc de Triomphe du Carrousel.
All four monuments are spaced in such a way to create this approximate doubling pattern
suggesting musical octaves.
In addition, the Arc de Triomphe is roughly double the size of the Arc de Triomphe du
Carrousel, and the Grand Arch is about double the size of the Arc de Triomphe.
In the scaling of the three arches I see three stargates representing the human, planetary,
and stellar bodies, just as we saw symbolized with cubes in London and DC.
Notre Dame cathedral fits perfectly inside the Grande Arche.
I'm guessing this is no accident.
A tune in three octaves if you will; I call it the symphony of the stargates.
The dimensions of the monumental structure are cubic with edge length measuring approximately
110 meters or 360 feet.
Researcher Jim Alison realized that 360 feet is also precisely equal to 210 Egyptian royal
cubits, and I see that the office windows inside the arch are arranged in groups of
210, providing validation of this metrology.
The exterior sides symbolic measure depicts 22/7 in meters.
22/7 is of course an approximation of Pi.
Twelve columns internally support the structure and a zodiac is literally depicted in the
basement floor, making the arch yet another form of Sun worship.
The sides of the monumental Arch actually contain some 40,000 square meters of office
space.
Multi-purpose rooms in the basement measure 400 square meters each.
These numbers got me thinking.
40,000 and 400 are very interesting numbers.
To appreciate this let's start with the metric system.
The metric system was originally defined by measuring the Earth.
The original Prime Meridian passed through the Paris Observatory and continued all the
way around the earth.
This circumference was defined as 40,000 kilometers in the 18th century and this served to define
the metric system.
There are 121 documented bronze medallions marked ARAGO after the French astronomer embedded
in streets and sidewalks in a line crossing Paris.
These medallions mark the line of the Paris Prime Meridian that was used in France for
200 years.
This line touches the corner of one of the Louvre's satellite pyramids.
Perhaps this is why the smaller pyramids are there.
The metre is the basic unit of length in science today.
The metre's definition moved from being based in earth measure, to a prototype bar, to being
circularly defined in terms of the speed of light, which is itself measured in meters/second.
Christopher Knight and Alan Butler's book Who Built the Moon? is really an eye opener.
Although I don't agree with their thesis that the moon is an artificial satellite, they
have discovered numbers relating Sun, Moon, and Earth that are too perfect to be the product
of random chance.
For example, consider a solar eclipse.
When one happens the Moon completely covers the Sun disc.
The only reason this can occur so precisely is because the Moon is exactly 400 times smaller
than the Sun and happens to be 400 times closer than the Sun during the eclipse.
The Earth also turns 400 times faster than the Moon.
The odds of these three seemingly unrelated characteristics would all converge on the
number 400 is literally astronomical.
As I already mentioned the Axe Historique is aligned with the heliacal rising of Sirius,
known as the star of Isis.
But the Grand Arch is turned approximately 6 degrees with respect to this axis.
This is of course no accident.
Everything has a purpose.
Can you imagine the mind-boggling planning that went into the Grand Arch alone?
Groundbreaking architectural design that ties together layer upon layer of hidden symbolism
completing the Hermetic masterpiece that is Paris.
Jim Alison has found what the Grand Arch is pointing to, are you ready for this...it points
to the birthplace of Isis in Dendera Egypt.
This tiny unassuming temple out in back of the larger Hathor temple is known as the traditional
birthplace of Isis.
The location of the small cube within the larger enclosure matches the azimuth where
the Grand Arch is facing.
Remember that the heliacal rising of Sirius was the basis of the ancient Egyptian calendar.
Well here is where all of that started.
This is where ancient Egyptian priests saw her bright star rising just before the dawn
signaling the beginning of a new year.
Isn't it amazing that the Champs-Élysées and Pennsylvania Avenue share the same astronomical
orientation with this tiny backwater in modern Egypt?
Backwater it may be today, but symbolically its the holiest place in the cult of Isis.
Napoleon came here and had a master mason cut out this massive ceiling from the adjacent
temple, and ship it back to Paris.
It's called called the Dendera zodiac, and is now suspended in the Louvre.
As you can see the Dendera zodiac has octagram star symmetry.
More than a zodiac, it is a planisphere showing the whole cosmology as seen through Egyptian
eyes.
Another Louvre ceiling that gets to the essence of things is Francois-Edouard Picot's Study
and Genius reveal ancient Egypt and Greece.
Hancock and Bauval recognized the importance of this Hermetic work in their book Talisman.
The painting allows the viewer to see Isis unveiled for Athena.
This unveiling references Plutarch's 1st century description of her temple at Sais where it
was inscribed, "I am all that has been, and is, and shall
be.
My veil no mortal hath ever raised."
The term Genius in the title is the epithet of the divine messenger Mercury who is introducing
Athena to Isis.
I think the Western world, exemplified by Athena, is being introduced to the older stream
of knowledge coming out of Egypt.
As I can attest, the term Study in the title refers to the intensive research required
to uncover the deep Egyptian connections that the elite is so clearly obsessed with.
Returning to Paris let's look at the Grand Arch with fresh eyes.
Remember that everything has a reason.
The Grand Arch is in La Defense, the modern section of Paris.
Why?
We need a modern mathematical understanding to perceive its deepest symbol and to recognize
it for what it truly is, a three-dimensional shadow of a hypercube.
Come again?
What is a hypercube?
If the square is 2D, the cube is 3D, and the hypercube is the 4D equivalent.
Here's what a cube looks like when it's being rotated.
Here's what rotating a hypercube looks like in three dimensional projection.
The fourth dimension is hard to imagine because it's literally beyond us.
You might be interested to learn that four spatial dimensions were known far before the
birth of modern science.
Here is what St. Bernard de Clairvaux wrote to his former disciple who became Pope Eugene
III: "What is God?
He is length, width, height, and depth."
There are four spatial terms used.
Bernard described the fourth dimension in the 12th century.
St. Paul also described four dimensions in the first century:
"That Christ may dwell in your hearts by faith; that ye, being rooted and grounded in love,
May be able to comprehend with all saints what is the breadth, and length, and depth,
and height; And to know the love of Christ, which passeth knowledge, that ye may be filled
with all the fulness of God" Four centuries before Paul, Plato even described
higher dimensional reality in his allegory of the cave which goes something like this:
We are prisoners chained in a cave and sit facing a blank wall.
There's a fire outside the cave and unseen people are passing in front of it.
We see shadows on the wall and mistake this illusion for reality.
I think we are kept in the dark about a great many things.
Notice how the hypercube's shadow in 3D projection looks like a cube within a cube.
This structure is fractal, meaning the same pattern repeats at different scales.
We've seen things like this before in cities, buildings, and art.
Consider the fractal-like City of London within Greater London, Vatican City within Rome,
and the United Nations Headquarters within New York City.
On the scale of a building take a look at the Dome of the Chain standing immediately
outside the Dome of the Rock.
It's the same structure repeated in smaller scale, hinting at a higher dimensional connection
for those who have eyes to read the symbolism.
Examples from art are Pomodoro's series of Golden Spheres within Spheres scattered strategically
in the Vatican, UN Headquarters, museums in DC and San Francisco.
The sacred Egyptian cubit is a unit of measure reserved for measuring the Earth.
One sacred cubit is equal to 6 over 5 raised to the fourth power in English feet.
Think about it, raising to the fourth power means the sacred cubit is literally a hypercubit.
Michell and Heath have found there are 10 million hypercubits in the Earth's polar radius
and 63 million hypercubits in its meridian circumference.
Now these amazingly round numbers measure our planet with remarkable accuracy (99.995%
for polar radius and 99.5% for meridian circumference).
How can this be?
Some physicists believe the universe is made of 10 dimensional superstrings, but 6 of them
have curled up into unimaginably small size.
The four remaining dimensions express the architecture of the universe.
In addition, the Earth is measured by a hypercubit whose edge length of 6/5 relates macrocosm
to microcosm.
The Earth is therefore a hyperdimensional object even though with our normal perception
we experience both the earth and ourselves as being only three dimensional.
Recall how I saw in the union of both Louvre pyramids the knowledge of how energy flows
from the Sun through hyperspace into planetary bodies.
Another projection of the hypercube into two dimensions looks like this.
Do you see the octagram star within?
This is where it all comes from.
The Sun is a hypercube.
Recall Metatron's Cube.
Now that we understand the Grand Arch we perceive Metatron's Cube as Metatron's Hypercube.
This 4D solar symbol appropriately contains the 3D Star Tetrahedron and the 2D Star of
David.
We see now why these sacred diagrams are both called stars, because they are projections
of our Sun which is itself a star.
To make all this four dimensional geometry easier to understand it helps to bring it
down a level.
Unfolding a square gives you a line.
Unfolding a cardboard cube gives you a cross.
Unfolding a hypercube gives you a cross made of cubes.
Salvador Dali started with this idea when he painted the Corpus Hypercubus.
He depicts the crucifixion yes, but what is he really saying?
Corpus Hypercubus is the ascended body as hypercube.
In Analytic Cubism, the art movement that anticipated Dali's Surrealism, Picasso and
Braque depicted objects from a multitude of viewpoints in an effort to see all sides at
once.
Of all the myriad forms in existence, why did they choose a cube to symbolize their
art movement?
Could these Cubists have been privy to secret knowledge that inspired their attempt to paint
the fourth dimension, or did they follow unconscious synchromystic inspiration?
Food for thought.
So now we have the human body, the earth, and the sun symbolized as hypercubes...three
cubes if you want to use a 3D symbol.
So which is it?
It's actually all of the above.
The human, planetary and stellar scales resonate as a fractal structure within the holographic
universe.
In simpler terms, as above, so below.
Metatron's hypercube as Enoch's hypercube reveals the cosmic man.
Enoch's triangle had the ineffable name of God written on it.
Here is that name in Hebrew, which is a language read from right to left.
Standing the letters up, we see the depiction of a man made in God's image.
The cosmic man is Plato's world soul, alchemy's Anima Mundi, and the Kabbalah's Adam Kadmon.
Here's a piece of my own artwork showing Adam Kadmon emerging from the tree of life.
If the human body is a temple then this temple is much more vast and interconnected than
we ever imagined.
The human energy form resonates with the esoteric architecture of the universe.